Photoplay (Jan-Jun 1935)

Photoplay Magazine for January, 1935 she loves almost reverently — isn't worth a snap of the ringers if it in any way bounds her freedom. If it keeps her from drinking to the fullest of life. In some ways, Margaret Sullavan is a wise old woman; in others, I suspect that she is a naive child. Because she eagerly wants, she insists on every worth while fruit in the world's Eden — not sometime, but now. She wants a stage career (she wants to " learn how to act"!!) she wants to travel, she wants marriage, a home, children, she wants leisure — and all pretty much at once. The fact that all of these can come in a few years, after she has made herself independent for life, by a short prison "stretch" in Hollywood, cuts no figure whatever with her. She thinks that now is the time to be free — not later. (~\F course, most of us wouldn't consider the ^making of two pictures a year (even though each picture, being the most important on Universal's schedule, takes from two to three months to film) exactly the four walls of a prison — but to one so geared as Margaret Sullavan, it is more than a prison — it's a torture chamber. Every day she spends on the set saps her energy to the last dregs and tires her to nervous exhaustion. She goes home in a state of mind which carries the conviction that her day's work has been futile — that she has given a miserable performance — that she has wasted a i precious, irretrievable day of her life — for naught. She can't bear to view the rushes of her day's 1 work in the evening after the final "Cut" has '. sounded. Director William Wyler asked her as a ' special favor to see them on her present pic : ture, "The Good Fairy." He thought it would help her. She went for two evenings. She couldn't stand to see herself and begged off; she hasn't seen them since. From all of it she wants to escape. Weary of the bargain which unsought, unexpected success has forced on her, Margaret Sullavan wants a way out. Will the marriage that she contemplates help her find the freedom and the rich experience of life she demands, and which, being made as she is made, Hollywood denies her? Will it be the first step towards her eventually forsaking the (~\R will it change her whole psychology, re'^^vamp her unusual attitude towards screen stardom, give her enough of the extra-studio if e she now lacks, and make what now seems iull torture an attractive career? , There is only one answer — She will still be essentially Margaret Sulla/an, no matter whom she marries — and so sincere is her unhappy dislike of a screen star's ife, that no mere wedding ring can transform ts aura from gray to golden. I Of course, marriage or no marriage, she can't ust quit. She's a very valuable piece of screen roperty, whether she likes it or not — and Uniersal has a contract with her for two more ears. But she is just enough of a life loving, freeom seeking person to go in for this marriage ith her whole soul, found a home and raise a imily! So take a good look, a long lingering look at largaret Sullavan in "The Good Fairy," for iat picture and the one after it might be your st chance to see her for some time. IO9 I ivacious little Toby Wing, Paramount feature player, and S. J. I'erelman, famous humorist now writing for Paramount, both vote for the Hawaiian "Here's How"' made with one-third of a glass of DOLE Pineapple Juice, a dash of cider and seltzer and ice. re Here's How!" says Wing to Perelman All over the country they are taking up the new Hawaiian "Here's How" based on one-third DOLE Pineapple Juice to each long tall glass, seltzer water, ice, plus the infinite variety of other fruits and fruit juices added to your own taste. 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